人文中國學報最新文献

{"title":"錢穆《春秋》學論述及其所涉秦漢經學史","authors":"惠如 宋","doi":"10.24112/sinohumanitas.342256","DOIUrl":"https://doi.org/10.24112/sinohumanitas.342256","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. 晚清民國時期僞經説蔚爲風潮，其中重大影響之一，在於康有爲、皮錫瑞今文經學史觀成爲後人省察秦漢學術之基線，當中存在著對經學、孔子學術、漢代學術的各項判定。然而他們的主張不僅爲古文學者如章太炎、劉師培所質疑，錢賓四先生亦就其經學史主張，提出切實的學術史觀與論述架構。五經中，《春秋》出於孔子之手，既史且經，性質特殊，尤其《春秋》在漢代被推崇，復爲今古文經學之爭的爭議核心，是以秦漢之際《春秋》學流變如何，實爲架構秦漢經學史的關鍵論題。錢先生《春秋》學論述有其特點，尤值得關注的是，其中含括錢先生對秦漢經學發展的特殊見解，是以本文先説明錢先生《春秋》學觀的基本立場，其次論述錢先生講論，作爲先秦王官學與諸子學交界的孔子《春秋》學，以及講論作爲古學、今學之論的漢代《春秋》學等三部分，説明錢先生《春秋》學説及其所涉經學史論述中，不同於今、古文經學者的辨真之見。 The studies of Confucian classics of Pre-Qin and Han times respectively by Kang Youwei (1858-1927) and Pi Xi-Rui (1850-1908) made significant impacts in the field. However, their views were questioned not only by scholars such as Zhang Taiyan (1869-1936) and Liu Shipei (1884 1919), but Qian Mu also proposed alternative interpretations and insightful discourses of his own. In particular, Qian raised a question: What special aspects of the Chunqiu (Spring and Autumn Annals) make this book a key to constructing the studies of Confucian Classics of pre-Qin and Han times? This article is a discussion of Qian Mu’s perspectives on this subject based on his discourses on Chunqiu studies. The discussion is divided into three parts: first, Qian’s perspectives on Chunqiu studies; second, his comments on Chunqiu studies of pre-Qin times; and third, his comments on Chunqiu studies of Han times. It then concludes with Qian’s comprehensive view on Chunqiu studies as well as his keen insight on relevant scholarship.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"769 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124837444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"倪春軍：《宋代學記文研究：文本闡釋與文體考察》","authors":"剛 朱","doi":"10.24112/sinohumanitas.342275","DOIUrl":"https://doi.org/10.24112/sinohumanitas.342275","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese only. \u0000幾乎所有人到達學齡以後，會有十到二十年的時間在學校接受教育，這種情形在目前的中國已習見爲常，但施予教育的小學、中學、大學乃至研究生院這一體系，其實是晚清以來纔逐步建立的。换句話説，我們所熟知的教學系統，基本上是從西方社會移植過來的，在其初期，有“新式學堂”之稱。在此之前，傳統中國的教育史，當然也並非乏善可陳，而且由於科舉制度的存在，國人對“考試”這件事具有相當的熟稔度，至今仍把許多科舉話語移用於高考。不過，科舉雖稱“考試”，其主體部分並不採取對答案、判分數的形式，所以它更像是一種作文競賽，有關能力的養成未必依靠學校。我們在各種反映古人生活的文藝作品中，可以看到兒童到學校接受啟蒙教育，但秀才們則大抵在家裏温習功課，通過自學，或者向前輩請教，以提升作文能力，這個階段的他們不再需要上學。就此而言，與科舉制度相適應的學校教育，即便非常繁榮，其發展的程度卻極其有限，以純粹的知識增長爲追求的人，將不能在這樣的學校獲得生存的資源，而後者乃是現代高等學校的一個關鍵特征。(撮要取自內文首段)","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127821237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"踵金宋餘習：蘇天爵《元文類》中的詩歌史開端探論","authors":"頌榮 凌","doi":"10.24112/sinohumanitas.342271","DOIUrl":"https://doi.org/10.24112/sinohumanitas.342271","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000蘇天爵（1294—1352），字伯修，爲元代中葉館閣文臣的代表人物。其精通史學之餘，亦善於詩文，有總集《元文類》七十卷傳世。《元文類》具備豐富的材料與龐大的規模，以賦體爲始，傳體爲迄，合計收録34類文體，文學史價值不可忽視。本文擬聚焦於《元文類》的詩歌部分，特别是各個類别的開端部分。蘇天爵固然希望建立元詩的主體性，卻必須處理元詩成形以前，與金、宋兩代詩學交雜的時期。這涉及元代對前朝詩歌與文化的認可與接受。是以本文希望從總集的編選手法入手，探討《元文類》對這問題的態度，以及處理手法。本文將分成三部分。首先是整理有關元詩開端之議題的理路，以及其與《元文類》之性質的關係；其次，本文會由元好問於總集中的位置入手，分析金人詩歌進入《元文類》的情況與意義；最後，本文會關注其他金、宋遺民，嘗試梳理隱於總集中的前朝記憶與遺民情感，並考察蘇天爵如何接受它們。 \u0000Su Tianjue (1294-1352) was a famous leader of the central government literati in the middle era of Mongol Yuan. Besides his proficiency in historiography, he also compiled a literary anthology titled Yuan wen lei (Yuan Literature Arranged by Genre), which has been an important source for the study of Yuan literature. This paper focuses on the poetic history shown in this book, especially the early part. Obviously, Su aimed to make Yuan poetry the main component of this poetic history, but it would be unrealistic to deny the continuous cultural influence of the Jin and Song dynasties, which were both conquered by the Mongolians. This contradiction is highly related to how Yuan adopted the previous culture. This paper contains three parts. First, it introduces existing scholarship concerning the starting point of the Yuan and thereby studies its relationship with the Yuan wen lei. Secondly, it explores the position of Yuan Haowen (1190-1257) in the anthology and how Su selected the Jin poetry and included it in his anthology. Finally, it examines the poetry written by the loyalists of Jin and Yuan as a means to explore Su’s attitudes towards these works.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127127574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"陳傅良《春秋》學與古文關係研究","authors":"芳祥 鄭","doi":"10.24112/sinohumanitas.331980","DOIUrl":"https://doi.org/10.24112/sinohumanitas.331980","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English.\u0000奠基於學界長久以來經學與文學關係緊密的命題之上，本文所欲解決的問題是，陳傅良《春秋》學世變觀、書法觀與古文關係何在？本文認爲，陳氏世變觀著眼於“事端（始）”“漸”“累”“甚”，書法觀則强調《春秋》、《左傳》之書與不書如何互相發明。陳氏《春秋》學不僅僅用於解經，更廣泛的見用於各體古文，包括序跋、書信、雜記、墓誌銘、祭文、論説等等，以及相應的各種不同人事現象、歷史事件。其以“組絲貫珠”的敘事工夫處理古今事物，或是條理清晰的敘述演變現象與關鍵，抑或是以少總多的見出全幅圖像。最後輔以關鍵論斷，或兼述人情。這展現了陳傅良的經學、史學、文學素養與廣博學識，對於本文更重要的，此學養成就了其兼融敘事、議論、抒情的古文作品。\u0000This paper proposes to study the relationship between Chen Fuliang's (1137 -1203) study of The Spring and Autumn Annals and his classical prose, especially how the former influenced the latter. Chen's main contribution to the study of The Spring and Autumn Annals are: 1 ) studying the changes in the world from a historical perspective and 2) the writing principle of The Spring and Autumn Annals. Chen's view of how the world changes focuses on “inception,” “gradual development,” “accumulation,” and “limits.” His view of the writing principle of The Spring and Autumn Annals stresses the reciprocal relationship between the “classic” and its commentary. Chen Fuliang wrote his classical prose in light of his theory of The Spring and Autumn Annals，as seen in his prefaces, postscripts, letters, miscellaneous notes, epitaphs, sacrificial writing, and treatises. The aesthetic appeal in these classical prose pieces reflects Chen's scholarship.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129080250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"韓愈《送窮文》及其傳衍體式與抒寫意義探析","authors":"志偉 鍾","doi":"10.24112/sinohumanitas.331974","DOIUrl":"https://doi.org/10.24112/sinohumanitas.331974","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000“送窮鬼”是古代新年歲俗，以求袪癘禳災，迎富納吉。送窮成型於六朝，唐宋蔚爲風氣，流傳至今。唐憲宗元和六年，韓愈首創《送窮文》，除記録當時儀式，進而與窮鬼問對，抒情寫志，歷代續衍不絶。令人好奇的是，文人爲何一再摹寫與重述？書寫樣態具有哪些承傳與嬗變？至今未獲學界關注。本文以《送窮文》爲依據，上下求索。因韓愈仿自《逐貧賦》，首要分析揚雄寫作心態與辭賦手法，爲韓文立下基調，其次，《送窮文》在韓集中歸入“雜文”，體式介於數種文體之間，乃借鑒賦體、祝文與唐代小説，完成了以袪癘爲基型的傳衍體式。由此進入本文重心，後世仿效，常見作者身分處境與心聲，自傳性强，故以創作心態爲視角，發現抒寫類型有四：一是炫才，展示異代文人的競寫現象；二是娱情，受揚、韓二家影響，具有抒放自我的自娱需求；三是淑世，部分賡續文章跳脱“悲己”情調，兼懷天下，格局宏大；四是傳世，看似是仕途失敗者，卻從道德倫理獲得補償，重獲定位與自我認同，盼能託言垂後。探索韓愈《送窮文》文章傳衍，可以檢視書寫創變，發現遺落已久的書寫譜系。相關續衍不應視爲疊床架屋，而是不得不作，體現多元敘事心態，而且集體證明韓愈《送窮文》藴藏的修辭力量與存在價值。 \u0000The ritual of “sending off ghosts of poverty” was a New Year custom in ancient China: a means to ward off plagues and disasters, and pray for good health and luck. The ritual emerged during the Six Dynasties era, became popular in Tang-Song times, and has been passed down to the present. In the sixth year of the Yuanhe reign-period of the Tang (811) , Han Yu (768 一 824) wrote an essay entitled “Sending off Poverty,” the first such writing that records the ritual of the time. It initiated a tradition of writing conversations with poor ghosts. One feels curious to ask why authors of later times rewrote and retold this piece of work over and over again. In these activities，what remained intact and what changed from the original writing style? These questions have hitherto remained unheeded in relevant scholarship. Therefore, this article takes Han's “Sending off the Ghosts of Poverty” as the basis for investigation. As the piece was an imitation of Yang Xiong's (58 BC - 18 AD) “Rhapsody on Expelling Poverty,” our first task is to analyze Yang's motives behind this work as well as his use of rhetoric, to see in what ways this piece set a foundation for Han Yu's emulation. Secondly, Han's piece is classified under “ miscellaneous essays” in his collected works. Its form and structure reveal a combination of multiple literary styles, and it achieved a synthesis of prose, prayers, and novels of the Tang. Since these works deal mostly with the position, situation, and thoughts of their authors, they are full of autobiographic elements. Four categories are observed according to the motives behind creation. The first is flaunting one's literary talents. It demonstrates a competition with authors of previous times. The second is entertaining. Influenced by Yang Xiong and Han Yu, these writers developed self-entertaining as a means to express their inner feelings. The third is meliorism. Some authors set themselves free from self-sympathy and instead set out to care about the world, and thus achieved a grandiose style. The fourth is transmission of learning to later generations. This seems to result from the authors' failed career path. By instead seeking remedy from achievements in noble ethics and morality, they thereby regain their position and self-recognition, hoping to pass down their words to later generations through literary works. The study of this tradition formed around Han Yu's “Sending","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126640545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"曾永義：《戲曲演進史（一）———導論與淵源小戲》","authors":"睿 袁","doi":"10.24112/sinohumanitas.331970","DOIUrl":"https://doi.org/10.24112/sinohumanitas.331970","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese only.\u0000臺灣著名學者、戲曲家曾永義先生的總結性巨著《戲曲演進史》終於在萬衆期待中隆重登場。作爲曾先生集大成三部曲《戲曲學》（臺北：三民書局，2018年）、《戲曲劇種演1史考述》（北京：現代出版社,2019年）、《戲曲演進史》（臺北：三民書局,2021年）的收官之作，這部巨著熔铸了先生畢生學術心得，彙集多重學術議題,對中國戲曲史進行了全景式的描繪。(撮要取自內文首段)","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126669591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"論劉咸炘之理事説及其困境","authors":"一泓 余","doi":"10.24112/sinohumanitas.331978","DOIUrl":"https://doi.org/10.24112/sinohumanitas.331978","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English.\u0000此文是對近代保守派學者劉咸炘的一份歷史學研究。這一研究從劉氏頗受關注的歷史觀切入，終於其人仍有待深入探究的理事論和新文化批評。首先，此文説明了劉氏的歷史觀念雖然承襲自章學誠，但支撑其歷史觀的乃是理學色彩濃厚的理事論。鑒於劉氏有學史以明道的價值訴求，此文在之後又分析了劉氏在其理事一元論學説中對於人性本善的回護，並指明這一回護中德福難得一致的問題。隨後，此文分析了劉氏在處理此問題時圍繞鬼神有無之問題對無神論所作的批評及其困境，指出劉氏保守的理事文化觀反映了文化保守派在近代中國的弱勢處境。最後，此文引述馬一浮對“六經皆史”的批評，試探劉氏學思在近代思想史中間的位置。\u0000This paper is a historical study of modern conservative thinker Liu Xianxin (1897-1932) and his theory of li (principle) and shi (social activities). As Liu is now known as a brilliant historian, his theoretical discourses and criticism of China's westernization have become subjects for investigation. First, this paper studies Liu's historical ideas influenced by Zhang Xuecheng (1738- 1801) and Neo-Confucianism. Second, it examines Liu's defense for the theory of original goodness of human nature and the problem of the correspondence of virtue and happiness. Third, it examines Liu's theistic argument, which was used in securing the correspondence of virtue and happiness. Based on these investigations, this paper shows inherent tension in Liu's theory of li (principle) and shi (matter), which reflects the anti-tradition trend Liu faced. Through discussing Ma Yifu's (1883- 1967) critique on the view that “Confucian Classics are historical works,” the last part demonstrates Liu's significance to modern Chinese scholarship.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127635521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"張錯《連枝草》現代題畫詩對中國古典水墨畫的文本關涉","authors":"昆樺 解","doi":"10.24112/sinohumanitas.331979","DOIUrl":"https://doi.org/10.24112/sinohumanitas.331979","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000題畫詩是中國古典詩傳統之一，然則在現代詩的創作場域中卻尚待開展。現代詩人觀中國古典水墨畫而爲現代詩，本身即涉及詩和畫之間媒體形式的互文關係轉换，特别是中國古典水墨畫自成一再現體系，現代詩人如何出入圖像進行辯證，實爲重要課題。學者張錯既有《風格定器物》之論著，詩人張錯亦有《連枝草》之詩畫創作，兩者交相輻湊，實深化出“在現代情境中古典水墨畫之美與美感經驗如何發生？並且透過現代詩話語予以體現？”此一問題意識。本文即透過“觀中遊：動態觀視”“天工與畫工：生成意識”論述進程，研究張錯現代詩與中國古典水墨畫間的互文現象。從中可見張錯在題畫過程中，一方面爲畫作投置主體，透過畫中山水空間的層次組合，建構主體感官與山水自然的互動關係，突破繪畫本身形式上的静態限制，以詩話語釋放繪畫潛存之動能；另一方面則運用畫法入詩，整合中國古典水墨繪畫傳統進行繪畫山水與人物的再現，使文本産生藝術品評的功能，並揉入自身審美品味，進而使繪畫與詩美學得以共進。 \u0000Inscribing poetry on paintings is a tradition in classical Chinese poetic history, but it has been under-developed in the field of modern poetry. Classical Chinese painting, which involves a process of translation of language into the symbolic system, is viewed by modern poets as modern poetry. Notably, Chinese painting itself is a representation system；this therefore has given rise to an important issue concerning how modern poets enter and exit the images as a dialectic discourse. As a scholar, Dominic Cheung authored a monograph, Authenticating Art by Styles; as a poet, he created the poems and the painting in Clovers-Selected Poems. These two works are deeply intertwined and arouse the awareness of two questions: 1) how does the “experience” of the beauty and aesthetics of classical landscape painting take place in modern contexts? 2) how can it be embodied through modern poetic language？ \u0000Through the two discourses on “Viewing in Tours: Dynamic Viewing” and “Work of Nature and Work of Painting: Generating Consciousness,” this paper examines the phenomenon of the intertextuality between modern poetry and classical Chinese painting. It can be seen that in the process of inscribing a poem on the painting, the layout and the composition of the landscape in the painting establish an interaction between the subject and nature, which breaks the limits of the static state of painting itself and releases the potential agency within the painting through poetic language. On the other hand, the integration of traditional Chinese ink painting techniques in representing the landscape and character shall enable the text to feature a function of aesthetic valuation and to further enhance the aesthetic appeal of the painting and the poem.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125789809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"明歌者張麗人《蓮香集》","authors":"晉如 徐","doi":"10.24112/sinohumanitas.331976","DOIUrl":"https://doi.org/10.24112/sinohumanitas.331976","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000廣東文獻之秘籍《蓮香集》，四百年來爲世所重，而版本流傳之序，各家之説多有未安。本文考出本書凡經三刻，曰隆武原刻本、乾隆重刻本、道光複刻本。隆武原刻、道光複刻本均已佚，乾隆重刻本又分人名不缺之初印本及鏟削去部分人名之後印本，今惟後印本存世。本文據胡文楷鈔本確定乾隆重刻初印本之原貌，又比較談月色鈔本及三種後印補字本，而推得道光複刻本之大體面目。復據書中内證及陳蘭芝增輯《嶺海名勝記》，推測出隆武原刻本編排次序與乾隆重刻本不同。最後揭示梁麟生父子重新編刻《蓮香集》，意在闡揚明末廣東義烈，表彰南園詩社“文章忠孝兩臻絶”之文化精神，並指出本書在乾隆、道光時的兩次重刊，廣東文士爲保存文獻而委曲求全，實具反抗清代文化鉗制之意義。 \u0000The Anthology of Lotus Fragrance (Lianxiang ji) is a collection of poems compiled for the famous singer Zhang Qiao (1615 - 1633) by Peng Rizhen in the first year of the Longwu Reign-period of the South Ming Dynasty (1645) The anthologized poems feature a common theme of patriotic sentiments, which has been valued for four hundred years. The study of the different editions of this book has long been absent in existing scholarship. In the present essay, we identify three different editions, namely (1) the original Longwu edition, (2) the reprint from the Qianlong reign-period (1736- 1795) , and (3) the re-carved edition from the Daoguang reign-period (1821-1850). Both the Longwu and Daoguang editions have been lost. There are two versions of the Qianlong reprinted edition： the first print contains all names，but in the second print some names were removed. Today，only the second print version is extant. This study takes Hu Wenkai's 胡文楷 (ca. 1899- 1988) handwritten edition as a master copy to reconstruct the original look of the first print version of the Qianlong edition. This work enables us to reconstruct most of the content of the Daoguang edition through a comparison with the Tan Yuese manuscript and the other three later prints, in which the removed names are restored. In addition，through a study of the contents of Anthology of Lotus Fragrance and the enlarged version of Records of Renowned Resorts of Mountains and Seas by Chen Lanzhi (Qing dynasty), the present study also infers that the contents of the Longwu edition are arranged differently from that of the Qianlong edition. Finally, the present study reveals that the re-compilation and printing of Anthology of Lotus Fragrance by Liang Linsheng (1899-1981) and his son aimed to praise the righteous martyrs of Guangdong during the downfall of the Ming Dynasty and commend “the highest achievements in literature, loyalty and filial piety” of the Nanyuan poetry society. It also points out that the book was reprinted twice during the Qianlong and Daoguang eras and some Guangdong intellectuals suffered much in order to preserve these documents. This reveals the significance of their resistance against the Qing Dynasty's cultural suppression.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117172464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"《左傳》“凡去其國”例楊伯峻注訂補","authors":"子濱 許","doi":"10.24112/sinohumanitas.331968","DOIUrl":"https://doi.org/10.24112/sinohumanitas.331968","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000本文旨在探討《左傳》“凡去其國”一例，既嘗試釋讀凡例文字，結合出土簡 帛異文説明此例關涉的語言現象，也通過考察楊伯峻《春秋左傳注》的應用情 況，尤其是對杜預《注》、孔穎達《疏》的取捨，窺探《傳》例的來源及其解《經》的 效能。全文主體共分四個章節，包括：《左傳》“凡去其國”例釋義———兼從出 土文獻異文現象看《傳》例文字；楊伯峻“凡去其國”例總注辨證———兼駁安井 衡《傳》例文字訛誤説；從楊《注》對杜《注》孔《疏》引《傳》例解《經》的取捨看 其注釋策略；“史之書策，必有舊法”———據《傳》“凡去其國”例證“五十凡”實 有自來。杜預從《傳》例解《經》事，有根有據。於若干例外《經》文，杜説亦甚 通達，但有時過於執著，委曲牽合，難免招人詬病。楊伯峻注以舊注疏爲鑒，於 其説有取有捨，其注釋策略及説解《經》、《傳》之用心，無疑值得審視與借鏡。 楊注未爲“凡去其國”例文字釋義，以“凡去其國，復歸其位曰復歸”解《經》，實 有未安。凡杜《注》於例外説義，楊注均避而不談，有意擺脱前人束縛。安井衡 認爲，“凡去其國”例中“入”與“歸”二字爲誤换，論證粗疏，並不可取。純從文 字訓詁論，《傳》所見“入”“復入”“歸”“復歸”與“納”“復”“反”“還”，取義相 通，故每每互用。這種現象也出現在傳世與出土的各種《老子》版本中。古策 書法式應有如《傳》例的規條，後史或依或違。借鑒楊伯峻的實踐經驗，引《傳》例説《經》，須審慎行事，於兩者之相合處，固可據《傳》例並書法解讀《經》文義 理，於其不合處，不能一概而論，以免委曲牽合、膠柱鼓瑟。 \u0000Of the so-called “Fifty Outlines” (fan 凡)found in the Zuozhuan, one states that:: In all cases concerning princes or ministers who left their domains, if the leaders of their domains escorted them and established them, it is called ru ('enter ' . If their positions were restored after returning from abroad, it is called fu gui (' restoration return.' ) If princes of other domains installed them in power, it is called gui (' return '. If the princes or ministers returned by force and violence, it is called fu ru ( ' restoration enter. ' ” Based on a thorough and in-depth examination of Yang Bojun's commentary on this rule and its applications throughout the Chunqiu Zuozhuan zhu, this paper finds that Yang misused the short form of the fan, and that his equivocal gesture on Yasiu Sokken's suggestion of the misplacement of the keywords in the fan is completely unacceptable. A comparison of the keywords in this fan with different manuscripts of the Laozi shows that the terms ru, fu gui, gui, fu ru are synonymous and simply mean “return.” This paper also attempts to prove the authenticity of this fan by applying the norms to relevant historical events recorded in the Zuozhuan and hence explore some issues concerning its sources.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124950634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}